First printing, 2002. Printed and presumed bound by St. Edmundsbury Press Ltd, Bury St. Edmunds, Suffolk, England. Red textured paper hardboards, with crisp gilt-stamped lettering to the spine. Generally unbumped spine head and tail, with sharp corners. 12.5 x 9.5 inches. Text block firmly bound in. xviii and 213 numbered pages. Followed by 383 B&W archival photo plates on heavy, glossy stock. An exceptionally clean copy, and very tight. Very gently read; a hint of waviness to a few interior pages. Lovely full-pictorial DJ, unclipped. Just a hint of rubbing to the DJ and light edge curl top and bottom. A Near Fine copy in a Near Fine DJ. "By the end of the eleventh century, when Romanesque art first appeared, and by the twelfth when it flourished, every parish church had a font. Increasing prosperity in Europe in the twelfth century was accompanied by the blossoming of the arts in all their forms, and baptismal fonts were often covered in lavish decoration of a high quality, at times producing masterpieces in form and iconography. Romanesque art is, above all, religious art, and the sacrament of baptism, being second only to the Eucharist in liturgical importance, is the first in which a Christian takes part... Mr Drake's work fills a significant gap in medieval historiography. He has personally examined almost all the fonts which are described in the text, enabling him to correct many misdescriptions by earlier scholars, who often had to rely on the observations of others, and also to update the available information about the present state of surviving fonts. His lists of fonts, his bibliography and the extensive illustrations to support his often detailed descriptions will be invaluable to future research."